Installation view at Galleria Massimo de Luca, Venice
Print on wallpaper, mirror sheets, print on satin polyester (10 curtains 140x400 cm each), ceramic glaze sculptures, LED lights, mini LED projector,
"Astrid", 16mm film transferred on HD, 6'22'', colour no sound Moving Image 2017
The installation (which has an important precedent in the recent exhibition Between the Glimpse and the Gaze at the James Hockey Gallery, UCA, Farnham) is a site-specific project which looks at the relationship between space, viewer and the exchange between different disciplines.
The project investigates the possibility to re-invent the projector machine and the projection process, through the making of objects as well as environments, which aim to transform the technological object through the organicity of the ceramic and its forms.
Each sculpture is conceived as an interpretation of the lamp and the projector's shape and qualities and in relation to the properties of light emitted and projected.
For this exhibition the design of wallpaper and fabric is made by the artist, who uses botanical and floral imagery as an illusionary surface able to transport the viewer somewhere else.
This use is thought also in relation to the study of the early Movie Theatres, especially the Atmospheric Theatre designed by John Eberson, who recreated the outside inside the Cinema space through the reproduction of fake gardens, the sky and house's facade around the screen. The viewer's gaze was travelling in and outside the screen during the experience of the film and the Movie Theatre was not completely darkened out.
The repeating patterns designed for both the wallpaper and the fabric, is thought in relation to the modular repetition and the natural organised chaos of the botanical elements, that increases the possibility of seeing at the same time the focus of the detail and the blur of the general impression while wandering in the exhibition space.
The curator Elena Forin writes: “At the heart of the exhibition project is the desire to unite very different and at times contradictory aspects of contemporary production; this is achieved by flanking elements linked to the world of design, cinema, video art, architecture, decoration, and visual inquiry, in order to create either homogenous spaces or ones fragmented by the powerful diversity of the context evoked by each of the works.”
In fact, the artist proposes interventions that transform the gallery rooms through the design of a ‘new visual, spatial, and architectural epidermis’ obtained by arranging patterns that are repeated on wallpaper and fabrics, in this way contributing to the creation of a form of continuity in which the vision of details is lost. These images, all botanically-derived, are born from the manipulation of analogue photos that were then scanned: the final effect, also as a result of their relationship to the other works, is the creation of a total environment in which the usual categories of perception are mixed up, and in which the difference between the figure and the background is annulled. Everything is part of a potentially infinite visual continuum where the images are regenerated and developed in an organic manner from one work to another, in an interaction between languages, finishing, spaces, supports, and the visual materials.
The elements created and installed in the space are developed as stage sets or small curtains for groups of ceramic objects that emanate coloured light: the public can shift the scenery to create new effects, moving the curtains in order to generate further superimpositions of images, and establish new boundaries between stability and movement.
And it is from this interaction – one that is not only suggested but experienced concretely – that it is developed the sense of Seamlessness: the idea of continuity and repetition that Giusy Pirrotta articulates through design, cinema, light, decoration, and objects in order to go beyond the limits of any kind of static perception and to experiment with the majestic monumentality of images conceived to develop through time and space, without limits and without boundaries.